I’m currently in Canberra on location and while being here – surrounded by the bleached gumtrees and gentle colour palette, I’ve realised it’s been one year since my first book ‘Shelter, How Australians Live’ was released.

When I think back to that time of making the book I feel a mixture of many, many emotions. It was one full-on year of my life, which I gave up to create this book.

When I think back I still can’t believe that I travelled around the entire country visiting each state, on a whim of loose leads and trusting strangers’ advice, seeking out authentic homes.

When it was released I was beyond elated that people had a shared passion for Australia. It was something which I hadn’t experienced. Before it was released I was a little nervous that people wouldn’t fully embrace the Australian aesthetic – the aesthetic which I love so much. Though, luckily, I was wrong and it was fully understood and celebrated and perhaps even more voiced.

One of the best parts was actually taking my book on the road and meeting so many loyal readers and supporters; all sorts, people who had been with me from the very beginning, then somewhere in between and then caught wind of what I was up to at the end.

I thought it might be interesting to talk about some of the conversations we had at the book launches, on the radio and in the mags.

Q) How did the book come about?

A) In 2013, I was approached to do a book on vintage caravanning and the narrative was that I travel around visiting people’s homes and giving interiors advice. (I have a vintage caravan which I used to travel around in, in case you don’t know, check it out here) At that time I was flattered to have been offered a book deal, however I felt I had more to give, more from the heart.

To be offered a book deal is not something to be taken lightly and I wanted to make a larger contribution, rather than perhaps be part of a ‘cool hipster movement’ – without the bushranger beard.

At that stage I was doing a lot of travel around Australia as a photographer and in regional areas especially. I had totally fallen in love with the landscape and the light and I wanted others to experience what had drawn me in.

I hadn’t seen this kind of Australia documented before and in my heart I had already decided that this was going to be ‘the book’ – on Australia, not caravanning, but truly living within the landscape and lapping it all up.

I pitched the idea back to the publisher, ‘How about a book on authentic Australian interiors, a book which speaks to the landscape?’….. um, they didn’t love it. Whaaat? Which kinda crushed me. There were tears. …. I had to prove my vision – so I was encouraged to go back into the field, the landscape – which I love and start from the very beginning and shoot a ‘sampler’, what I was seeing in my mind.

Then this was taken to the acquisitions boards and approved. Then it was goodbye and good luck – bring us back a beautiful book.

Q) You could have done a book on anything, why this?

A) I felt like it was about time that Australia dissolved our cultural cringe about our country and embraced the qualities that I had been admiring and loving.

Australia is actually a very exotic place and has such varied climates and landscapes – so many beautiful vibrant colours within the landscape. I saw a constant repetition for looking abroad for interior trends and I became disengaged and bored with what I was seeing on the pages of the magazines and in books.

I wanted to showcase a certain reality, a reality which I could relate to living here in Australia, with our climate and landscape.

Q) What was your favourite place to photograph?

A) Hill End and the home of Luke Scibberas ( – a few shots up). There was just something in the air when I visited the old gold rush village. I was only meant to stay for a day and ended up staying for five. Hill End is a community that’s closely knitted and keeps it real.

Because of the artistic undertone, people were really receptive to what I was doing. The folk of Hill End live a very authentic lifestyle that has a strong connection with the landscape that they live within.

Once I hit Hill End I understood what the book was really going to be about – the direction I had to take with the visual storytelling and narrative. The story of the book had to be about the people I came across and their tales too.

Q) Which was your favourite interior?

A) Page 130, the pinks of Gracemere in the Central Interior chapter (above). It’s a small freestanding outdoor bedroom, incapsulated by fly wire to catch the breezes in the hotter months and to keep the bugs out and animals out.

It was so enchanting and connected to the bush. The summer fragrances travelled straight through the fly screen on the hot air.

Q) How did you find the people?

A) I put a call out onto instagram originally and so many lovely people emailed me. The initial response was wonderful, but there is something to be said about serendipity and getting your hands dirty.

I started off in Western Australia, because I wanted to be completely thrown out of my comfort zone, from there I went to Tasmania where I thought I was going to stay a week and I stayed for 6, zig zagging around the state.

I would meet someone either accidentally or through a connection – the pub was always good (and bad) for this! I would tell people what I was doing – a book, and I was looking for authentic Australian interiors.

I’d photograph a house and be sent on my way to a friend or relative, living in another part of Australia. It was the most eclectic and authentic time of my life. A year of true magical thinking and being.

When a stranger opens up their home and life to you, the friendship is sped up. I became fast friends with all of the wonderful people who took me in and fell for the idea of a book like this – my project instantly became their project too.

Q) Favourite landscape or place?

A) Ghost Gums was photographed in the initial pitch. When I photographed these trees with so much light and emotion I realised that’s how I wanted to photograph the landscapes for the book.

To be able to pour so much emotion into a landscape scene – that was the goal for me, not some boring landscape on a postcard.

Q) What is your favourite page?

A) It’s hard to say because every page offers such different emotions for me. None of the shots were particularly easy – no shot that’s worthwhile ever is.

That feeling of being so vulnerable and being alone within the landscape still gives me goosebumps. Sounds strange, though Instagram really helped me feel as though I wasn’t alone – putting a picture up on instagram and feeling people’s support, love and conversation was such a positive part of the journey, I will always be grateful for that.

I had to go back through the book to choose and it was hard – but the image on page 190 has to be a favourite.

I just can’t believe all those components came together – fog, irises, homing pigeons, horses kissing, and emus. It feels so cinematic and captured the mood of a Lucy Culleton’s magical animal sanctuary perfectly.

A) Did you really not style the shots?

I didn’t style the shots. At the beginning of the journey I would – changing a few things around, then when editing the photographs I realised that the essence of the shot had changed. I had altered it. I had made the photograph about me.

I realised that if I wanted to do this project from an honest perspective, I had to do it from a documentary viewpoint – I had to shoot what was in front of me and use my skills to make it intriguing…… if anything, I’d sometimes remove the landline telephone.

Q) Which was the most memorable journey?

A) The most memorable was definitely my time spent on the remote island of Satellite Island. It was haunting, in the best possible way. I stayed there by myself, alone on the island. Well, mostly.

On the second day I had been shooting all day and I had no mobile reception when I poured myself a glass of wine and sat outside the boat shed.

The sun had gone down, I lit an armful of candles and a small fire. It was pitch black and all the stars were bright across the nights sky. Then, on the horizon I could see a boat light coming straight for the jetty, closer and closer, was I imagining this? until the boat pulled up right on the jetty and this man jumped out – ‘Hi, are you having a party?’ this strange man asked, as he lifted beer and live crayfish out of his boat onto the jetty – ‘umm, no, no party here’, I replied, ‘It’s just me, my name is Kara and I’m all alone, without even mobile phone reception’ –good work Kara, thats exactly how murder movies go….. Turns out he was a night watcher seal defender – as in, protecting seals in the waters.

Anyway, I shuffled the seal defender man back onto into his boat, explaining to him I was having a moment and he and his crayfish weren’t going to be part of it. Far out. Just when you think you are alone…..

Q) What’s next? A) Lots! I have heaps on the go. I want to continue this new conversation about Australia. I’m not working on another book at the moment, but have kept the essence of what I found and what was real about Shelter and translated it into my new lifestyle range. Whether it’s a handcarved spoon made from Blackwood or a tea cosy made from Australian fleece, there are lots of heartfelt things in the mix. I’m also heading away soon on an artist residency where I’ll be working on a new body of work/print collection – inspired by the forces of nature. There you go, hope you enjoyed! What a rollercoaster this book has taken me on! K x]]>http://www.kararosenlund.com/2016/10/making-shelter/feed/3At Homehttp://www.kararosenlund.com/2016/09/at-home/
http://www.kararosenlund.com/2016/09/at-home/#commentsMon, 19 Sep 2016 10:06:17 +0000http://www.kararosenlund.com/?p=13634

It’s been a while since I’ve opened up the doors to my home. There is nothing I love more than being at home. Home has a way of nourishing and nurturing, topping you back up again.

The last time I posted shots from inside my home was over 2 years ago. Some things have changed and others not so much so. I do like to stay true to my natural style, taking my firm lead from nature.

I spend so much time away travelling as a photographer, but the one thing which is always on my mind when I’m away is home. I’m always collecting pieces to add to its layers when I’m on the road. Lots of natural textures, colours and most importantly stories. I love how an object can remind you of a time gone by and you become sentimental about it.

I’m often asked where I have found certain pieces and most of the time they are one off objects I’ve stumbled across while travelling or a dusty old vintage find. It’s such a pain disappointing people when you have no idea where someone else can find something similar.

So, for the past few months I’ve been designing and curating a collection for the home based on what inspires me, my favourite pieces and how I love to live with them. It’s called the KR Home Collection, fancy and I’m going to make these pieces available to purchase through my online shop.

There’s something primitive, yet luxurious about surrounding yourself with natural fibres and textures. I find it soothing and nourishing and helps bring a heavy dose of calm to hectic modern day.

Taking a lead from nature always ensures a sense of timeliness. Things don’t seem to ‘date’ or ‘go off trend’, nature has a way of dissolving all that nonsense and pressure.

When I was designing the range I approached it just as though I was designing a room – from the floor up. The Foundations. In the collection so far is a large cow hide, a sweet goat hide throw which is so versatile and an assortment of generous hide cushions.

I’ve used all these for years as a stylist and love living with them in my own home. All in gorgeous neutral tones of pale white, through to buttery tan.

So that was it, a little peek in at home and also what I’ve been simmering away on. Lots more to come. You can preview them below in the shop!

A single week doesn’t go by when I’m not reminded by last years incredible trip to Namibia. It truly was extraordinary.

My highlight was spending time with the Himba tribeswomen and being in their presence. I’m itching to do another trip. So until that happens I decided to curate an edited version of the best shots from last years body of work from my blog posts, so we can all relive the trip together.

Coming up over the sand dunes and looking down into the Himba village still gives me goosebumps. I didn’t know what to expect. To think a whole village lives within that fenced timber ring, with their livestock at the foot of the mountains in the sand. So isolated and unspoilt, like the land that time forgot.

Namibia is such a vast land, it’s one of the least populated countries on the globe. I found every aspect inspiring. Everything from the Himba huts made from sticks and animal dung, to the tribeswomen who spoke no English – yet we ‘spoke’ for hours together, to the beautiful handmade jewellery which adorn their necks, wrists and ankles. I loved it all.

There was something about the women on this trip. I found them to be so strong and ridiculously beautiful, in such a timeless way. Each had their own story, not easy stories, difficult and dangerous stories, the stories which make you cry in empathy. But life goes on here and so do these brilliant women.

The air, the light, the colours, the freedom. I miss it so much. If you would like to read more in detail, here are the three original posts one, two and three. Enjoy!

This post is an exciting one. We are going on a ‘behind the scenes’ tour of the making of my KR Kitchen Collection, visiting the workshop of Carol Russell, the wonderful woodworker who I’ve been working with as part of my new range.

I had been wanting to release a wooden kitchen collection for so long, years in fact. A collection of my ultimate tools for the kitchen, things you only need to buy one of and are made to last. Each object has been designed for a specific purpose based on the tradition of cooking….and are also strikingly beautiful on the eye.

I also wanted the pieces to be Australian made, using only Australian timbers. They had to feel a certain way when using them in the hand, to slow you down a little, to appreciate the smaller things in life.

When I met woodworker Carol Russell everything I had previously hoped for became a reality. With her woodworking talents and her tender approach to life, she understood how sentimental and from the heart this collection had to be for me. Together we designed each of these beautiful pieces based on how I like to feel while cooking and doing certain tasks in the kitchen.

There is something rather special about being invited into a craftspersons workshop. The smell of the woodchips and progress in the air, the humble surroundings and the familiar sounds of ABC Radio National on the radio. I love it.

My eyes became a bit teary when I saw my initials being burnt into the Tasmanian blackwood. Such a proud moment. It’s one thing to release a range of products, though it means so much more when you know and are involved in the whole process behind them, from the design phase all the way through to the final product. How considered each part of the journey has been and the attachment you have to each of the finished pieces.

That’s me, having a moment with a new KR spoon, in disbelief really of how beautiful a spoon can be. With its extra long handle and perfectly shaped spoon ‘bowl’, which is the ideal size to fit in your mouth to taste what you are cooking.

Hard to believe a knife and chisel can achieve such perfection. Transforming a chunk of timber found in nature into a piece of purposeful beauty.

I was shooting on location on Flinders Island, just off Tasmania two weeks ago. Such a beautiful unspoilt little island - only accessible by incy wincy plane. Bad wintery weather closed in on the last day of our shoot, so we wrapped up and the crew and I left the island pretty fast. Bad weather and small planes - eeeeek, not a good mix...]]>

A couple of weeks back I dashed to Canberra, just for the night and stayed at Hotel Hotel - a 68 room hotel which I had been itching to visit for ages ....

... I only had 24 hours and it felt a little bit like I was in an episode of an Anthony Bordain TV show. I sampled, touched, ate, absorbed and photographed as much as I could, to give you an idea and feel of the extraordinary space and what it offers... which is a lot....

... my room was like a cocoon of darkness, totally engulfed with rich textures, curves and detailed finishes at every point.... everything had been considered.. and yes, I fell hard for the colour palette....

... one detail I read was that the rooms took their inspirational lead from the classic 'Australian Shack'. Clay rendered walls, overhead rain showers in the bathroom and windows which can be opened for fresh air... my room felt really personal and intimate, it's the little things...

... I even squeezed in a few hours of work which was a surprise, it's funny when you take away the everyday distractions you can get more things done....

.... within Hotel Hotel there is Monster Kitchen and Bar which serves local and seasonal dishes, including this one - Cured kingfish with kohlrabi, chilli, dried scallops and coriander...

.... then followed by this good looking fella - Yabby jaffle, can it get any better? With horseradish and creme fraiche... What a classic .... and I seriously pined for this for days afterwards.

... I hung out in the library and inhaled some serious goodness off the pages of Hotel Hotel's library....see, I really did try everything out for you...

... and then I attended the book launch of Perfect Imperfect at the Nishi Gallery. Perfect Imperfect is the latest book by Karen McCartney, a woman who I seriously admire - such an exquisite journey through the concept of wabi - sabi - advocating beauty in the imperfections, handmade and the natural world.

Then there are the photographs in the book, where to start, such soulful visuals by photographer Sharyn Carins and stylist Glen Proebstel, designed and art directed by Tracy Lines. With that line up of names this book was always going to hit it out of the park.. and it sure does...

... the book launch was accompanied by an exhibition of the same name - bringing the pages of the interiors book to life and showcasing many artists work from the book - including fibre artist Jacqui Fink, sculptor Harriet Goodall, Hiroko Takeda, Julian Watts, Simon Hasan and Alison Coats - her 'Folded Sculpture Palm Bark and Curiosity Cabinet is above - was such a favourite.

... Jacqui Fink's 'Woollie Shuck' hanging....

... leather vessels by Simon Hasan and sculptures by Julian Watts

... this is a print of the Holy Trinity Church in Vienna and a collection of bakelite crystallography models from a private collection....